Workshop Day Two

I have to share some photos from yesterday's workshop. We had a wonderful day out at Lover's Point in Pacific Grove.

After the sun began to set we found the light to be amazing, and continued to paint.....

I haven't had a chance to take photos of the artwork yet. I've been here for three weeks already and this view never gets old. It changes so many times each day as well as throughout the day. The colors are very inspiring.  Going home on Friday.

Working with a Limited Palette

This past month I have been working with two very lovely new students who decided they were ready to learn to paint. They both came in with very little experience and a great attitude. They are both very talented and have come to the time in their lives in which they can spend time doing what they love to do.

We spent four full days working together over a four week period. Before we moved from value studies to using a full palette of color, we started the first color exercise with a very limited palette of white, burnt sienna and a couple of the blues.

This is a great way to get your eyes to look for and find the subtle variations of value and temperature. Even though you won't be able to paint pink, you can lean toward a warm pinkish value that may resemble pink for the flowers, etc.  Because in my demo I was forced to use basically blue and brown, I chose a very cool bluish color for the lime to increase the contrast of color and temperature between the flowers and lime. It will really get you to focus on those things that we need to learn to see all the time, but many times we don't because we can be lazy.

Don't be lazy, train your eyes to see as an artist!

Still Life/City Life - 30 paintings in 30 days - Day 1

"Flag City", Oil on Panel, 6x6"

I've decided to paint all City Life and Still Life paintings for the 30 paintings in 30 days challenge this time around. I have been moving away from landscape for a while. It's funny how we (artists), tend to move around in our tendencies toward new inspirations. At least that's true for me. 

I was in NYC last year and took hundreds of photos. I especially enjoyed the evening walks and the lights of the city. This hotel was especially pretty, all dark except the beautiful warm glow of the lights above the lobby with the display of colorful flags. I knew I would have to paint it.
This painting is available on the Daily Paintworks Website.

http://www.dailypaintworks.com/fineart/randy-blasquez/flag-city/164472

JUST WHITE by Randy Blasquez

Just White, by Randy Blasquez, 30 x 30 x 1.5"

Just wanted to let you all know that I'm still out here. The holidays this year were wonderful, but I got off to a late start as far as planning goes and I thought I'd let you know what I'm up to lately.

Classes are going great. What a blessing it is to work with a student over a period of time, and see tremendous progress. I'm starting to really see what happens when a student comes in and wants to learn to paint after perhaps many years of thinking about it. It can be daunting to be sure, but with a little encouragement and some continued effort, a little light begins to shine. When I see this little light begin to shine, I know that this particular student has been reading about art, visiting art galleries and museums and sketching. These are all huge in the scheme of things if you want to grow. And the next thing you know this student is stepping out of their comfort zone again and taking another workshop with a new instructor. They might begin to see where their weaknesses are, and address them by taking a drawing class. Or they might try painting the same paintings again, only working out the flaws. But when I have a student that brings in her/his work from home to share with me, I know they are on the train to success. They are on the train to success because they are doing what it takes, making time to paint and paint and paint....

This is when I get excited about their excitement about painting, because I remember how that feels, and still does. It feels like a whole lot of joy!

So, as this year begins to come together I know I want to take some classes with Terry Miura and glean some of that beautiful design juice from him. The way he is painting the figure right now is amazing.

I have decided what shows I want to enter if I can get my act together, but I have not set my sights too high. 

I'm considering renting a studio space close to the school. Just looking around right now.

I'm hoping to go to the Weekend with the Masters event in September in San Diego. 

And I've been busy painting some large scale paintings for a new gallery.  I am ready to make delivery in a couple of weeks so I decided to share one of them with you today. The rest will get posted after all is said and done, and you just never know.

Just one more thing, I'm seriously considering a workshop abroad next year and have been doing the footwork for that, so if you want to know more, just ask! Beginners Welcome!

Better Results using Proportions and Angles

Provincial Vista from the Village

Oil on Linen - 16x20"

I just wrote a short lesson for my classes and decided to post it, even though I haven't taken photos to help with it. I will do some demonstrations in class and ask one of the students to take some photos. So I'll just add those later. 

I painted this scene upon my return from France a couple of years ago after spending two weeks painting in the Villages of Provence. It was like going back in time to walk the cobble stones among the old 15^th century buildings.

BETTER RESULTS using PROPORTIONS and ANGLES

To paint well we must first learn to see well. Part of that learning curve is the necessity to learn how to see and draw proportions and find the angles of our subject.

Really it is just learning how to measure what we see rather than just eyeballing it. I have seen paintings that would otherwise be very nice, but it is always obvious to the viewer when something is “off”.

This can be done free hand using only your brush and your view catcher. Set up a simple two object still life and let’s get started.

1.     First I do a simple thumbnail sketch using a black Prismacolor pencil to block in my composition and values, relying on my view catcher.

2.     After I turn to my canvas and wash in a transparent tone, I am ready to measure my proportions and angles.  

3.     I need to look through my view catcher again, this time use the sides of the opening edges to find the location of the objects. (note*-the proportion of the canvas must be the same as the view catcher, if it is not, change it to match the canvas you will be painting on.) When I say use the sides, compare where to top of the object is in relation to the top/botton and left and right sides of the edges. Mark these one at a time. Do this first for the composition as a whole, and then for each object in your set up.

Note: To make sure the perspective is correct, I extend my arm fully each time I look through the view catcher or brush, then close one eye, and make sure that I stay in the same position while looking at the subject.

4.     Now connect the dots with a light line of paint. This is your composition. Does it fit onto the canvas the way you want it to?

Note: You will have made this decision in your thumbnail sketch, so check to make sure it is approximately the same. Now is the time to move it if you decide.

5.     Now put down the view catcher and begin to look for the proportion of the objects. Your marks are in place. This is an estimate. Now use your brush to find the proportion – which is a measure of increments. You will need to choose an obvious unit of measure, (a length or width of something important in the subject – such as the width of an apple – that you will compare to the width and height of another object in the set up.

Note: Hold your brush and with your thumb and index finger, line it up with the tip and the edge of your object, and compare the distance to the opposite edge, this could be top/bottom or right to left edge. Use this same unit of measure to get the height and width of the other objects.

6.     After you measure, check your original marks and adjust as needed. Now begin to connect the marks to make your drawing.

Note: You will need to learn how to find the angles at this point using your brush the same way as before, only now you are tilting your brush to line up with the edge and then bring it to the canvas to record it. Just mark on your canvas what you observe with your brush.

            **Note: Measure as many times as you need to get the correct proportion. Often you will not get it right the first time, so if you get the feeling that something is off, just measure again. If you continue to use this practice it will become automatic and you will soon be able to accurately depict on canvas what you see. A huge payoff!

Facebook Post from Dan McCaw A painting should say as much about the artist as the subject he or she is painting. I exaggerated and simplified.... I will try anything that will help better express my own voice, for me its all about the search. You should never paint a truth that is not your own, the journey is to find your own truth. It exists within all of us, the model is only our excuse to search for it

beginning  by Randy Blasquez

I love today's post from one of my favorite artists....  Dan McCaw
We are all on this journey, to find our own truth in paint. I love this!
I want to express my truth. Oh how much easier said than done. This is where I am in my own journey. In the beginning, I was a copy cat. I painted mostly from photos, or should I say I copied from them. I did not learn from this much in the way of good art, but more in the way of how NOT to paint. This was a good lesson.
Now I teach what I want to learn. To SEE the truth and express that truth to the best of our ability. I wish it didn't take so long to get that into my brush.....

A Study in Complementary Colors

Hi all, just wanted to post this study from last week's class. I did a demo for the beginning oil painting class at the School of Light and Color in Fair Oaks, California.

Oh! It was such a beautiful day today and yesterday was quite nice. Finally some good weather here. Yesterday I finally took our two little doggies on a walk. It just about killed me to stay in the studio but I had to work on some paintings for a gallery drop off tomorrow.

Have a great weekend!

I want to share my feelings with you......

I just have to share with you a recent letter I received from a friend. She and I used to share in some things in life together, and we have somehow lost touch with each other over the years. Our kids are friends and we do see each other, but only occasionally. I had posted on my blog and shared the post on facebook. I was overwhelmed with gratitude when I read her words, so honest and heartfelt.....

Randy,

This is going to seem really strange to you to hear from me, but artists are people who "feel"in order to create and I want to share my feelings with you.

I was on Facebook, I saw your beautiful painting, and I wanted to look at it more, so I clicked on your blog. Suddenly, I was in another world. I started clicking the older posts link so I could read more about Paris and Provence. I found myself getting very emotional, and suddenly I started to cry. I didn't know why, but I imagine it has to do with several things. One, the beauty of the country held me. Then, reading about the joy that you were feeling while you were there moved me greatly. When I read about the man at the station trying to help you, I imagined you all alone, a bit fearful, and how brave you were to try to maneuver through this unfamiliar territory. I began to think of all the times that I have been in that position and thinking to myself "What's the worst thing that could happen? I could die, surely, but other than that, I'm ok." Unfortunately, it was never about a wonderful journey like yours, but nonetheless, it was the same feeling, I should think. I began to think about how I have always wanted to paint. I am a very good sketch artist, but painting has always intrigued me. I then began to think about my life and how it is solely made up of working and raising kids. I will never have an opportunity to go to France and study art. I will never be able to even stay anywhere in a first class hotel in America! I'm 57 years old, I have done most everything I ever wanted to do in my life, except have money enough to relax and enjoy it. Your blog touched me beyond words. In a way, I am sad for what I miss out on, but mostly, I am moved by the beauty of this world. Should I make a bucket list, or should I be content that God has given me a home and healthy children? Do I leave care to the wind and charge up a trip to a place that pulls at my heart, or spend all my money on this house and the repairs? In a few years, both my kids will be grown and I will be nearing retirement age. Will I have enough to survive, let alone enough to enjoy what remains of my life?

I am not asking for pity, at all. I am not even sure why I am telling you this, except the painting of a well dressed homeless French man brings me to tears and a picture of beautiful gardens where a famous artist once painted does the same. Is this the power of art? Does it move you so much that you begin exploring within yourself and go to places where you don't want to? I am not going to paint, as I imagine you will invite me, because I simply don't have any energy left. But, I thought to myself, "I wonder if Randy thinks about what people are feeling when they read her posts? Does she think that only artists and students of art are reading it? Does she think that her friends are reading it because they love her and want to see what she is up to? Or does some old friend from the past curiously explore her world and find emotions that haven't dredged up in a very long time?"

I think I should thank you, for the emotion that has come over me. I am not jealous, because I learned a long time ago that what I have is what God wants me to have. I just want you to have this gift, this knowledge that a simple post on Facebook has changed me today. Maybe just for today, I don't know. Or maybe it is the beginning of something that needs to stir inside of me.

I asked her if I could post her letter. She said I could, maybe an excerpt. But I had a hard time leaving anything out. Yes, she is an artist. But until I read this I thought she was an actress and I didn't know she was interested in painting. So, maybe some day she will decide to give it a go. I hope so. What I love most about being a teacher is seeing how much painting can bring joy, just pure joy, into one's life!
Why do I get to live my dream and not her? I think we shall find a way my friend. Blessings to you......

Hawthorne on Painting

I got out this book again. It is one of those that will never leave you without some new insight....
I have been teaching the Still Life in my weekly classes. I have some very new students and this is very new for them. We set up a simple still life, get out our view finders, and start painting. This is how you learn to SEE!
Excerpts from the book:
The painting of still life gives one the widest range for study--
a bottle is as serious a subject for the portraiture as a person. In arranging, place things so they have color and so that you can see it well. If you cannot decide on color and values in the beginning, move your still life around until you get things simple so that you can see big relations.
Select one light thing against a dark thing--a kitchen utensil and a lemon cut in half--try for spots coming together.
You don't hear me say much about drawing. It is because I think drawing the form, and painting, are better separated. The first thing is to learn to see color. You will draw better a year from now if you disregard for the time being the thing you call drawing. Realize that you haven't yet the painting point of view--after you have got the spots of true color in their proper relations, you have something to draw with and you can then consider it. Don't consciously try not to  draw but do the other thing so well that it will draw itself.
Don't look up at the nature and consider an inch at a time. See what one big spot is in relation to the other big spots.
Search always for more beautiful notes of color, don't search to put more things in.
Study larger spots of color coming together--don't break objects up into too many colors.
Establish big general things. You can't make all the differences you see.
Insist all the time on one spot being right relatively to another. I'm trying to say that when you think straight that thought alone is worth while and when you put down one or two notes that are right that's all that is necessary. You'd be surprised at how little work it takes to make a picture.

This is about a page. There is so much in this book - tons of information. Every time I read it I understand it on  a new level.
I find the above information very exciting. This is what we are striving to do in class, to SEE COLOR.. I learned a lot of this from Don Hatfield who is also teaching at the Capital Art Center in Sacramento.

Wednesday's Oil Painting Class Demo

Wednesday's Oil Painting Class Demo

We had a full class Wednesday and I set up a still life that was inspiring, (to me anyway!)

I loved the beautiful colors and shapes within this set up - also the dramatic light situation.

I wanted to paint bold, expressive shapes and explained to the class how important it is to begin a painting with the abstract in mind. I instructed them to use three values and three shapes only - for starters. This will help you see the beauty in the dark shapes against the beauty of the light shapes........

After you get that far, look at your abstract composition before going further. 

Use a mirror. Walk away and look. Squint at your setup! Look for beautiful flowing darks that move your eye. See the lighted shapes and how they are leading you on a journey. Look for movement in your painting. If your eyes are pleased by what you see, move on to more paint.....

I will post the next stage later today and then the finished piece so stay tuned.

A Look Inside....5 Days in Paris

A Look Inside  

Oil on Linen Panel

12x9"

by Randy Blasquez

I've been painting from my studies and photos of Provence from last summer for months now. Well, I'm moving on....

I've started a new series from my five days in Paris. I took this shot as I was walking by this restaurant in Paris as the Mat re de' stood there and gave me this look as if to say "what do you think you are doing - you tourist!". I'm glad I got the shot, even though it wasn't the one I wanted. The server inside the restaurant turned his back to me while I hesitated. As it turned out, it still worked for the painting.

Here we go, I've got 1200 pictures from those 5 days........

Yesterday's Oil Painting Class

Here is yesterday's set up. We ventured across the street from the Capital Art Center where I teach a beginning/intermediate oil painting class. It was so nice outside how could we not? Some of the ladies in the class want to learn to paint in "plein air", (in the fresh air). We have been painting still life set ups in the studio for a while.

They did very well, in fact, outstanding. I can't begin to tell you how much of a blessing this class is. To see how far the painters have come. It takes a committment to learn how to paint, but what a payoff! Most of the class has started from no or very little experience. I love to see them grow. I am growing right along with them. We all still have so much to learn. 

We set up the still life outside and it was beautiful. Next week we will take our little outdoor studies and begin a larger studio painting, using the studies we painted yesterday, along with a photo reference. The light did change, but the shadows on our set up just got better.

Palo Alto Baylands - wonderful painting spot!

Baylands Study 6x8"

Palo Alto is where my teacher Brigitte Curt teaches plein air classes. Allison and I went out yesterday and painted the Baylands, a wonderful marsh area by the little airport there off of Embarcadero Street. Brigitte and Jim have been teaching for 14 or so years in the area. They work as a team most times, and the knowlegde, compassion and passion for teaching shows and is very welcoming.

You must check out their websites:
http://www.classart.org/

http://www.provenceworkshop.com/

I was blessed to go to Provence last summer. I need to get out there and work on my skills with all the plein air opportunities coming up!

Baylands Study 2 5x5"

Who is the Contrarian Art Marketer

"Nightfall, California Coast"

Oil on Canvas mounted on board, 30" x 40"

"Fall Colors, Napa"

Oil on Linen, 20" x 30"

I am the Contrarian Art Marketer

by Clint Watson

This article is by Clint Watson, former art gallery owner/director/salesperson and founder of FineArtViews. You should follow Clint on Twitter here.

"Be fearful when others are greedy, and greedy when others are fearful" - Warren Buffett.

Warren questions the wisdom of the masses, and thus wasn't invested in dotcoms in 2000 or residential real estate in 2008.

Just because something is popular doesn't mean it's a good idea. In fact, in investing, it often means it's a bad idea. This is sometimes called contrarian investing.


I'm the same way. I question everything. And the more popular something is, the more I question it. You can call me "The Contrarian Art Marketer."

There is definitely an online "echo chamber" effect out there. And when an idea starts echoing loudly, I start questioning it.

The echo chamber tells artists that SEO is extremely important, but I say it's not all that important. The echo chamber says that you need to develop a USP, but I say you are already developing a Wordless USP. The echo chamber says that having a really professional looking portfolio and image is important, but I say chill out - that's not all that important either. The Echo Chamber goes crazy over Facebook, but I'm not so sure. The Echo Chamber currently loves Twitter, but I questioned that too (and have sort of had to eat crow on that one). The echo chamber thinks a gallery must be in a great high-traffic location, but I used sell tons of art from a location that had zero walk-in traffic.

I'm sure that as the contrarian art marketer, I've missed the boat on some of my thoughts, just as I'm sure Warren has missed some good investments opportunities. But overall, it's served me well.

And it can serve you well too.

When "gurus" give you advice about your art career and ideas about marketing.....question it. Question everything. Especially if you're being charged for the ideas.

Question everything, and if it's an idea that's echoing loudly, or there's money to be made (like, currently, in selling "social media courses") be skeptical. However, try to minimize the chance of discounting an idea too soon (like I did with Twitter). When considering an idea, ask an artist who actually sells a lot of art what they think of it. Or at least ask someone who has a track record of selling art. Trust your gut. Does it make common sense? Can you find an example of an artist who's been successful with the idea? Or better yet, more than one? Will it hurt to wait a bit and see if the idea is a fad? (Waiting has been one of my best strategies. I've watched online services come along, gain traction, get hot and die before I had a chance to "check them out.")

Importantly: does it take you away from creating in your studio?

The most important thing you can be doing is creating your artwork. So even if an idea is "good, you might want to skip it for better uses of your time. You need to focus on the ones with low-time investment and high-payoff...so that you can get back to creating.

Sincerely,

Clint Watson

Software Craftsman, Art Fanatic, Contrarian Marketer
PS - sometimes ideas that were once "hot" fall out of favor, but remain effective or become even more effective: Hence my personal penchant for art marketing with phone calls and, especially, email newsletters. Newsletters are relatively low-time investment and high payoff. For most artists, SEO is a high time investment and a lower payoff.

PPS - "Questioning Everything" includes questioning me too. Everything I just wrote could be wrong. :-)

This article appears courtesy of FineArtViews by Canvoo,

a free email newsletter about art, marketing, inspiration and fine living for artists,

collectors and galleries (and anyone else who loves art).



This article originally appeared at:

http://clintwatson.net/blog/16163/I-am-the-Contrarian-Art-Marketer




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Just a Few Tips

By doing a few things different while painting, you can save yourself a lot of trouble and who needs trouble when painting is hard enough?  (It's not that I"m an expert on these matters, but along the way I have learned ways to make my life easier.)

It may seem like a small thing but cleaning brushes correctly is going to save your brushes. This goes for me too! If you want your brushes to last, it's important to take the time to keep them clean and conditioned. There are many ways to go about this, and I'm not saying mine is the best but this is how I do it (with very good results):
When I'm painting in the studio I use my brushes starting with the large ones and moving to the smaller ones. When I clean them, I start with the smaller ones and move to the larger ones. When I'm finished painting, I wipe each brush and squeeze out the paint with a paper towel. Then I dip it into the mineral spirits. The first dip (and this goes for during painting also), doesn't touch the bottom of the can. It will get the brush wet enough to get more paint out of it with another squeeze of the paper towel. The next dip is the swish into the tray inside the spirit can. Try to  gently wipe the brush back and forth inside the can to remove the paint. Wipe again with a paper towel. Do this one more time. Now dry the brush with the towel as much as you can to get the mineral spirits off. Mineral spirits, when left in the brush will dry the brush and make it brittle. After a brush gets brittle, the hair will break, and you will be buying another new brush before you know it. If you are going to clean your brushes with soap when you get home, you can put them away. If you are not going to get to it, take another step before you pack up. Invest in some walnut (or other)  oil and dip your brush into it, wipe again with your paper towel. As you wipe shape it and put it away. This will keep your brushes conditioned until you can soap them. When you use soap, use a gentle soap. http://www.brushflush.com/
I use brush flush. It will get paint out of anything and everything, even dried paint. It is very important that you don't let the paint dry in your brush. When cleaning with the soap, dip it into the soap and a little water, suds it up in your (gloved) hand, rinse. Repeat this until there is no more color coming out in the rinse water. Now wipe a little bit of the clean suds onto the bristles, shape with your fingers and lay flat to dry.

I am always trying to find ways to keep my mineral spirits clean while I'm painting. This in turn will keep my painting clean because my paint will stay cleaner. Also, if my mineral spirits aren't too mucked up, my brush will be cleaner and I can paint a brush stroke with clean color.
So let's say I've been painting in my studio, as I'm painting I wipe my brush after every brushstroke or two with my paper towels. I use as many paper towels as I need in order to keep the paint from getting all over everything. It is well worth going through a bunch of paper towels in order to get good results. It does you no good whatsoever to continue to try to use a paper towel if it is covered with paint! So, don't hesitate to throw away your paper towel, even if it is not half way used. You won't be sorry and your paint won't be all over you and your hands. (And everything else!)

It is also very important to keep your palette clean. After I've laid in my painting, I clean my palette. Scrape it with your palette knife, save your piles so you can use them in your painting, and wipe it down. If you need to you can dip your paper towel into your mineral spirits and wipe. A baby wipe works well to, but be careful because it may leave a little residue on your palette. Now you are ready to continue painting. This will save you considerable greif! Repeat as many times as you need. At the end of a session, use your razor blade scraper and scrape down your palette. I move my piles of paint at this point, into a clean area, clean underneath the area where the paint sits, and them put the paint back in it's place. I am now ready for my next session with clean juicy paint (and brushes). Put a lid on your palette. If you don't have a lid, wrap it with saran wrap, tightly. When you get home, put it in your freezer. It will last longer and be fresh the next day.

Photos from July in Paris. Isn't she beautiful? Tomorrow I'm driving to the Bay Area again for my Plein Air class with Brigitte Curt.  http://www.classart.org/  I'm hoping for a good painting day, and I'm beginning to feel like maybe I can really be an artist some day!